My One and Only Love’s favourite song (this version by the wonderful Ella):
… there’s also a nice instrumental version of this lovely ballad (written by Guy Wood and Robert Mellin in 1952), by the unlikely jazz violin team of Joe Venuti and Stephane Grappelli …
… and an instrumental/vocal rendition by tenorist John Coltrane and vocalist Johnny Hartman…
… and, of course, there’s Frank …
… but My One and Only’s favourite version is this:
Of all the eulogies to Nelson Mandela there have been over the past eleven days, this one was probably the most powerful, sincere and moving. I defy anyone to watch and listen with completely dry eyes:
Below is the official version of Ahmed Kathrada’s speech, but it varies somewhat from what he said on the day, suggesting that some of his remarks (eg: that extraordinary closing comment, “My life is in a void and I don’t know who to turn to”) were entirely spontaneous:
The last time I saw Madiba alive was when I visited him in hospital. I was filled with an overwhelming mixture of sadness, emotion and pride. He tightly held my hand until the end of my brief visit. It was profoundly heartbreaking. It brought me to the verge of tears when my thoughts automatically flashed back to the picture of the man I grew up under. How I wished I’d never had to confront the reality of what I saw.
I first met Madiba in 1946; that’s 67 years ago. I recalled the tall, healthy and strong man; the boxer; the prisoner who easily wielded the pick and shovel at the lime quarry on Robben Island. I visualised the prisoner that vigorously exercised every morning before we were unlocked. What I saw at his home after his spell in hospital was this giant of a man, helpless and reduced to a shadow of his former self.
And now the inevitable has happened. He has left us and is now with the “A Team” of the ANC – the ANC in which he cut his political teeth; and the ANC for whose policy of a non-racial, non-sexist, democratic and prosperous South Africa he was prepared to die.
He has joined the “A Team” of his close comrades: Chief Luthuli; Walter Sisulu; Oliver Tambo; Dr Yusuf Dadoo; Jack Simons; Moses Kotane; Bram Fischer; Dr Monty Naicker; JB Marks; Helen Joseph; Ruth First; Professor ZK Matthews; Beyers Naude; Joe Slovo; Lilian Ngoyi; Ma Sisulu and Michael Harmel.
In addition to the ANC’s “A Team”, Madiba has also joined men and women outside the ANC – Helen Suzman, Steve Biko, Alan Paton, Robert Sobukwe, Cissie Gool, Bennie Kies, Neville Alexander, Zeph Mothopeng and many other leaders.
We are a country that has been blessed by many great and remarkable men and women, all of whom played a critical part in this grand struggle for freedom and dignity. We have been blessed by the contributions of many different movements and formations, both inside and outside the country, each making an indelible imprint on our history. We have been blessed by a struggle that actively involved the masses of the people in their own liberation.
We have been blessed that under the collective leadership of the ANC, we can proudly proclaim that “South Africa belongs to all who live in it, black and white”. We were mightily, and unexpectedly, blessed when the old, oppressive, undemocratic order succumbed and bowed to the inevitable. And then, finally, we were truly blessed by the far-sighted wisdom of our collective leadership – with Madiba at the helm – that took us into a democratic future. For all of this and much more, we are deeply grateful.
We are fortunate that today we live in a noisy and lively democracy. We are eternally grateful that dignity has been restored to all South Africans. We are forever grateful that the lives of many are improving, although not enough yet. We are deeply grateful for a constitution that encompasses all that is good in us and a constitutional order that protects our hard-won freedom. Finally, we are infinitely grateful that each and every one of us, whether we are African, white, coloured or Indian, can proudly call ourselves South Africans.
Mindful of our gains, we nevertheless know that a long, long road lies ahead, with many twists and turns, sometimes through difficult and trying times. Poverty, ill-health and hunger still stalk our land. Greed and avarice show their ugly faces. Xenophobia and intolerance play their mischief in our beautiful land. Parts of the world out there find themselves in unhappy situations; economies falter and stagger; extremism and fundamentalism of all kinds are rampant; the Earth reels from climate change, and the poor battle to survive. Ferocious struggles for democracy unfold daily before our very eyes and the numbers of political prisoners grow in step with rising intolerance. For instance, we think of the Palestinian Marwan Barghouti, who is languishing in an Israeli prison. All of these people and prisoners throughout the world will continue to draw inspiration from the life and legacy of Mandela.
And finally Mr President, I wish to address myself directly to Madala, as we called each other. What do we say to you in these, the last, final moments together, before you exit the public stage forever?
Madala, your abundant reserves of love, simplicity, honesty, service, humility, care, courage, foresight, patience, tolerance, equality and justice continually served as a source of enormous strength to many millions of people in South Africa and the world. You symbolise today, and always will, qualities of collective leadership, reconciliation, unity and forgiveness. You strove daily to build a united, non-racial, non-sexist and democratic South Africa.
In this spirit, so exemplified in your life, it is up to the present and next generations to take up the cudgels where you have left off. It is up to them, through service to deepen our democracy; entrench and defend our constitution; eradicate poverty; eliminate inequality; fight corruption, and serve always with compassion, respect, integrity and tolerance. Above all, they must build our nation and break down the barriers that still divide us.
Xenophobia, racism and sexism must be fought with tenacity, wisdom and enlightenment. Anything that defines someone else as “the other” has to go. Tolerance and understanding must flourish and grow. In all these actions we are and will be guided by your wisdom and deeds.
Today, mingled with our grief is the enormous pride that one of our own has during your life, and now in your death, united the people of South Africa and the entire world on a scale never experienced before in history. Remarkably, in these last few days, the masses of our people, from whatever walk of life, have demonstrated how very connected they feel to you; how the story of your life is their story and how their story is your story. Madala, you captured this relationship beautifully on the occasion of Walter Sisulu’s death, when you said: “We shared the joy of living, and the pain. Together we shared ideas, forged common commitments. We walked side by side through the valley of death, nursing each other’s bruises, holding each other up when our steps faltered. Together we savoured the taste of freedom!”
To Mrs Graça Machel and the Mandela family, our love, respect and support go out to you. We wish there was a way that we could ease your grief and pain. These last few months have been particularly hard, and we trust that in the ensuing weeks you will be able to find the rest and peace you need so much. We mourn with you and wish you strength in this time of need.
Madala, while we may be drowned in sorrow and grief, we salute you as a fighter for freedom to the end. Farewell my elder brother, my mentor, my leader. With all the energy and determination at our command, we pledge to join the people of South Africa and the world to perpetuate the ideals and values for which you have devoted your life.
Hamba Kahle, Madala! Hamba Kahle, my dearest friend!
(from the Guardian)
Nelson Mandela’s daughter Makaziwe has described how the family gathered around him to say goodbye. She also describes her own sometimes difficult relationship with her father and the difficulties of living in a divided family. We republish this because it’s an honest and very moving account of the private Mandela and his family.
Makaziwe Mandela, Mr Mandela’s oldest surviving child, was speaking to the BBC’s Komla Dumor.
Here are some excerpts from that interview:
It has been a very long painful period.
As you know because of the type of family we are, you can’t experience the pain and the trauma, and actually now the loss, privately. We are always constantly, people around and the glare and sometimes you feel like screaming, you know, ‘Can you give us peace, just to have that moment as a family?’ It’s been very, very hard.
He was very, very much loved. He knew that he was loved. Being conscious of all the warmth that came from the world, it’s difficult to say, we tried to explain it to him that, you know, people are outside the hospital singing, putting cards and flowers.
So for me I think Tata, until the last moment, heard us. And the children were there, grandchildren were there, you know, Graca was there, so we were always around him even at the last moment we were sitting with him on Thursday the whole day.
They told us Thursday morning that it’s likely and said to me: ‘Maki call everyone that is here that wants to see him and say bye-bye’.
It was the most wonderful day for us because the grandchildren were there, we were there, the professional doctors, and in actual fact when they saw him slipping away, those doctors dedicated their time. They were running shifts, three-hour shifts, 24 hours.
Being there, it was like they were soldiers guarding this… I don’t know whether you understand this… they were soldiers guarding the spirit of a king. Yes, my father comes from royalty.
And so even for the grandchildren I think it was a wonderful moment. Unfortunately there were some grandchildren and my sisters were out, there were some grandchildren who were participating at some event in Brazil.
But for those who were here I think it was a wonderful moment for them.
I was bitter as child because I had a father who was there but not really there.
My father is awkward with his emotions. People don’t understand that because they see the public persona. But Tata had the public persona and the private persona. He couldn’t express his emotions.
He grew up in a society where you had to be seen but not heard, the African culture, where you learnt by emulating the others before you, where as a man you did not show your emotions.
He couldn’t say the words ‘I love you’. I mean even with the grandchildren, if you talk to them, there’s very few moments where Tata has said ‘I love you’.
The way he knew how to show love was to provide for his children. He bought us all houses. That was his way of showing love.
My family has been a very divided family. My father has had three wives, but I try the best I can. I can never say that I am perfect but one of the things that my father really wanted more than anything is that his own children would get along.
I try to be the word of wisdom. I try to bring, even now everybody together, the grandchildren, it was me who will say ‘I think we should inform this one’. Even with Mandla [her nephew] who I just took to court now.
It was me who said to the doctors ‘I think we should call Mandla now to come’ because I think it was important for all of us to have closure and be united.
Surely we’ll still have differences in how we see things, but I think there is a better way of how to deal with issues. My dad has always said to us ‘Charity begins at home’.
I don’t think my father fought just for political freedom. My father also fought for spiritual freedom, to free yourself spiritually.
He talks about the fact that it takes courage to forgive. Forgiveness is a very difficult thing.
I don’t think it was easy… but I think he knew that if you didn’t forgive he would be forever in prison – himself spiritually.
So for me the lesson we can take away from his life is to have the courage to forgive other people… Because if we have the courage to forgive as human beings, there will be no wars that we see around us, there will be no crime, there will be no violence, there will be no conflict, and for me that’s the greatest gift that Tata has given to the world because he also says none of us when we’re born are born hating another.
We are taught to hate.
And if you can teach a human being to hate, you can also teach a human to love, to embrace, to forgive, and for me that’s the greatest lesson.
From the Daily Maverick: ends with ‘prayers’ that we all can share.
“It’s still nice to dance, crack jokes and wear a loud shirt”
Slightly adapted from a piece by Marelise Van Der Merwe
Our heroes are falling one by one, our police don’t protect us, and our politicians are weak and vicious. And we’ve been hanging onto Mandela as though our lives depend on it, not his; when what we should be doing is using the great gift of introspection that he gave us to pull ourselves from the wreckage.
Newspapers have been on standby in case the news breaks – so much so, in fact, that a DStv channel aired an obituary in error earlier this year, much to the righteous rage of the ANC. The country doesn’t want to look away, in a mixture of mercenary alertness (God forbid we be the newspaper that misses it) and heart-wrenching sadness (he is our everything).
After the DStv obituary aired, ANC spokesperson Jackson Mthembu flew off the handle somewhat, and I can’t say I blame him. To me, the incident symbolised everything that is wrong with this compulsive Madiba-watching. “This was uncalled for and totally insensitive,” Mthembu fumed. “President Mandela is alive and receiving treatment for a recurring lung infection, as reported by the Presidency.
“We join millions of South Africans and people all over the world in wishing Madiba a speedy recovery and discharge from the hospital. We also join all those who are offering their prayers for the old statesman to get better.”
I must say, though, that Mthembu was wrong on one count. My prayers were not for Madiba’s speedy recovery. My prayers and good wishes were that he would not have a long, drawn-out death; that he would be peaceful; that he would be surrounded by loved ones and look back with satisfaction on the life he lived. He was an old, old man – one who crammed more into his active years outside of jail than most people would do in two lifetimes. He used his jail time, too, to good effect, educating himself and others, spreading messages of peace, and most importantly, working on his inner world – coming to terms with the abuse he had suffered, so that when he came out of jail, he was able to lead us all to genuine reconciliation.
What I didn’t want for him was speculation, the endless watching for whether he made it through the night, the long process of going into hospital, coming back out, labouring for air. There is a reason pneumonia is known as the old man’s friend: it is quick and usually not painful.
If there is anything Madiba taught us, it was gentleness and humanity, not to mention the stupendous power of forgiveness. In my own life, this struggle for forgiveness has been massive, for reasons unrelated to the political climate. But every time the anger comes, I look towards Madiba and remember what the human soul can overcome. He had a profound influence on my life, and I am sure I am not the only one. Part of what made him such a remarkable human being is that you would be hard-pressed to find a person who had not been influenced by him in some way. He was the person who looked through the vicious shells of Apartheid leaders, prison warders; the insensitive crusts of self-righteous whites who did not want to change. He looked through them all, saw the human beings inside, and reached out to them. He gave us all the mercy we so desperately want, and he led others to it, too.
Madiba earned his rest. He earned the right to sit quietly with the people he loved most in this world, and drift gently into the next one. He gave us his life in service – but we didn’t even want to grant him his death. Why did we keep on wanting him to get better, just so that he could go back into hospital? Selfishly, we didn’t want to let go of all he symbolised, so we wanted him to cling to a life that he had, in all honesty, lived out.
Madiba withdrew himself many years ago, as we all know. He did not want public life anymore; what he wanted was a life, a good life, with his family. He was done fighting and wanted happiness. And that, ironically, seems to be the one thing that – for all our claimed love – we didn’t want to grant him.
If you have ever read fairy tales or epics, you will know that a typical plot manoeuvre is for the main character, at the critical stage, to lose his mentor. South Africa is at that critical stage now: we are staring into the abyss, the crisis times have come, and we have lost our father figure. But what happens in these stories? The fighter gets up and carries on; he moves forward with the tools the mentor has given him already. And if it is a good story, he emerges victorious.
Madiba gave us many tools. He is done giving now, and we should accept that. What we can do if we want to honour and respect him is use those tools and remember those lessons. The way I see it, if we really want to show love for Madiba, we should be praying for ourselves.
We should pray that we can learn to forgive like Madiba.
We should pray that we learn to sacrifice, without complaint, for the common good.
We should pray we learn that even time we believe is wasted can be used to achieve so much good: in learning, in thought leadership, in becoming greater within ourselves, while we wait for circumstances beyond our control to change.
We should pray that we learn his great gift of introspection, so that we never let the bitterness grow inside us, even when it seems nothing is changing.
We should pray that we have the courage to speak up and be honest, even if there are grim punishments in store for us when we do.
We should pray to be gentle, but not meek – to fight for what we believe in.
We should pray that even when we are good, good people, we remember that nobody likes a goody-goody: that it’s still nice to dance, crack jokes and wear a loud shirt.
And most of all, we should pray to remember that all great changes begin with the person in the mirror: our own transformation leads it all.
If all South Africans strive for this, maybe, just maybe, we will be able to give Madiba the same gift back that he tried to give to us: a country that works.
He has paid his debt to South Africa, and more. He has led each one of us to strive to be a better person, in a better South Africa. It is time for us to lovingly let him go, and to move forward with the lessons he sacrificed so much to teach us.
After a long search, I’ve just obtained a deleted CD by my favourite singer, the now nearly forgotten Lee Wiley. It originally appeared in the mid fifties as a 10″ album called Lee Wiley Sings Rogers and Hart and the CD includes an added bonus: the original sleeve notes by George Frazier (no, not the boxer, but one of the finest jazz writers ever). As one of our missions is to bring you great writing from perhaps unexpected sources, I thought I’d reproduce the notes here. The Youtube clip, by the way, is of Lee singing Rogers and Hart’s Glad To Be Unhappy, but from an earlier (1940) recording, with Max Kaminsky (trumpet), Joe Bushkin (piano) and Bud Freeman (tenor sax) in the band:
George Frazier wrote:
Lee Wiley is one of the best vocalists who ever lived, with a magical empathy for fine old show tunes and good jazz. Indeed, I know of no one who sings certain songs quite so meaningfully, so wistfully. She is, however, an artistic snob and, consequently, simply awful when (as is blessedly rare) somebody persuades her to experiment with mediocre material. When she doesn’t get a lyric’s message, you might as well call the game because of wet grounds. But given a number worthy of her endowments — well, she is miraculous, as, in fact, she is here.
This is a portfolio of songs by Rogers and Hart — not Rogers and that other fellow (who would be Oscar Hammerstein II, who, no disrespect intended, no Larry Hart, he). These are haunting songs — songs that have withstood the ravaging headlong rush of the years, the fickleness of public taste, and the debasement of the lyric to the nadir where we are subjected to, forgive the expression, Be My Life’s Companion. But whatta hell, whatta hell. The gratifying thing is that Richard Rogers and Lorenz Hart (who, although dead and buried these many years, is more artistically alive than the no-talent author of Be My Life’s Companion) turned out some lovely, lovely stuff and that Lee Wiley has a superb affinity for it. To my mind, indeed, she is the definitive interpreter of Rogers and Hart.
I do not in the least mind admitting that it gets me livid when most girl singers make it big, for it is my dour conviction that, by and large, they have plenty of nothing. Lee Wiley, however, is an artist. About the vast art of Miss Wiley there is a sophistication that is both eloquent and enduring and utterly uncontrived. Technically, she may leave something to be desired, but artistically she’s simply magnificent, projecting emotion with dignity and warmth, expressing nuances with exquisite delicacy, and always making you share her bliss or heartbreak. She came to New York from Ft. Gibson, Oklahoma, and before long all the right people were bewitched by her incomparable magic. There is no room here to catalogue all the individuals — that is, the prominent ones — who are Wiley devotees, but right offhand I can think of Bing Crosby, Dorothy Kilgallen, Ted Straeter, Victor Young, Louis Armstrong, and Marlene Dietrich. It is my feeling that they, along with a great many other people, will be grateful for this anthology. To my way of thinking, no better Rogers and Hart collection is available. Since de gustibus and so forth, I should probably mention at this point that I rather wish Miss Wiley had substituted, say, The Lady Is A Tramp or the rarely-heard Imagine for Give It Back To The Indians, but this is carping and, in any event, you cannot really fault Indians. As for my enthusiasms, the rendition of Glad To Be Unhappy is marvellous — a great love song interpreted in all its dark splendour. It is all the love affairs ended, all the marriages put asunder, from the beginning of years. It is Fitzgerald’s rich boy walking into the Plaza that stifling Saturday afternoon and suddenly coming upon his girl of once upon a vanished time, married now and big with imminent child. It is an ineffably haunting song, robust yet gentle, and this is its finest reading. It explains, I think, why Miss Wiley is an unqualified enthusiasm with such not-easily-impressed critics as, for instance, Roger Whitaker of the New Yorker, George Avakian of Columbia Records, and Jack O’Brien of the New York Journal-American.
And here, along with Glad To Be Unhappy, are such other small (and maybe not so small) miracles as My Heart Stood Still, Funny Valentine, It Never Entered My Mind and Mountain Greenery, all of them redolent of the suspenseful moments when the house lights lowered and the curtain went up on another show by Rogers and Hart. These are literate tunes, civilised tunes. Where, if you will, is there a more nearly perfect lyric than in It Never Entered My Mind? To me, it seems the greatest lyric ever written, but until I heard Miss Wiley do it, I never realized that it is the greatest by a prodigious margin.
Right about this point, I suppose, there should be the department of how-about-a-great-big-hand-for-the-boys-in-the-band. As it happens, this is a fine little ensemble, providing an accompaniment that is cohesive, rhythmic and gratifyingly unobtrusive. Its members are all, as Professor Kitteridge used to say of Sam Johnson, good men and four-squares. I would, however, like to put in an extra word or two about the stylish young trumpet player. His name is Ruby Braff and, to my ears, he sounds rather in apostolic succession to the late Bunny Berigan, who, coincidentally enough, accompanied Miss Wiley when she recorded a Gershwin anthology a decade or so ago.
Indeed, if I have any objection to this portfolio, it is that it will doubtless assail me with bittersweet memories — with the stabbing remembrance of the tall, breathtakingly lovely Wellesley girl with whom I was so desperately in love in the long-departed November when the band at the Copley Plaza in Boston used to play My Heart Stood Still as couples tea-danced after football games on crisp Saturday afternoons, with reawakened desire for the succession of exquisite girls with whom I spent many a crepuscular hour listening to cocktail pianists give muted voice to Funny Valentine, of the first time I saw Connecticut Yankee, of — Yes, of the first years of my marriage and listening to Lee Wiley late at night. My wife, who knew more about show tunes than any woman has a right to know, had a special affection for You Took Advantage Of Me and she always sang it when her spirits were high. Afterwards, when she had long ceased to sing it, when a judge had severed that which no man is supposed to put asunder, I lived for more than a year with a girl who I had hoped would make me forget. She was not witty or talented or, for that matter, particularly pretty. But she was very, very sweet and she tried very, very hard, even pretending to appreciate the Wiley records that I used to play over and over again as I clutched at the past and, for a little while indeed, it would actually seem to be kind of wonderful, with the mournful, wailing tugs in the river below and in the distance the Fifty-ninth Street Bridge stretched like a giant necklace as we sat there listening to the songs of heartbreak. There were even moments when I rather fancied myself falling in love again. But always such moments fled, because when Miss Wiley sings, there is nothing affected. So I would sit there and hurt more and more with the remembrance of other, never to be recaptured nights in the same room. Lee Wiley can do that to you — damn her! But damn her gently, because she is, after all, the best we have — the very best.
NB: ”She drank like a fish, cussed like a sailor, could treat musicians abusively, and had no qualms about stealing married men – including the star trumpeter and bandleader Bunny Berigan, with whom she recorded. ‘They had a pretty torrid affair,’ says Dan Morgenstern, the celebrated jazz historian. ’Bunny’s wife hated her.’ But Wiley got away with a lot, for she was a dish, with smoldering sex appeal and dark hair that tumbled past her shoulders.”: from a rather more critical take on Ms Wiley, here.
Well, here’s a different love song: ‘I Get Along Without You Very Well,’ an almost agonisingly poignant number (the lyrics partly contradict the true meaning of the song), described on Wikipedia thus:
“I Get Along Without You Very Well” is a popular song composed by Hoagy Carmichael in 1939, with lyrics based on a poem written by Jane Brown Thompson. Thompson’s identity as the author of the poem was for many years unknown; she died the night before the song was introduced on radio by Dick Powell
It was performed last November at the Whitley Bay Classic Jazz Party by the great young US singer Cecile McLorin Salvant, whose performance was captured on video by Michael Steinman of the Jazz Lives blog. Tom “Spats” Langham on guitar, Martin Litton on piano:
I get along without you very well
Of course, I do
Except when soft rains fall
And drip from leaves
Then I recall
The thrill of being sheltered in your arms
Of course, I do
But I get along without you very well
I’ve forgotten you just like I should
Of course, I have
Except to hear your name
Or someone’s laugh that is the same
But I’ve forgotten you just like I should
What a guy
What a fool am I
To think my breaking heart
Could kid the moon
What’s in store
Should I phone once more
No, it’s best that I stick to my tune
I get along without you very well
Of course, I do
Except perhaps in Spring
But I should never think of Spring
For that would surely break my heart in two
What’s in store
Should I phone once more
No, it’s best that I stick to my tune
I get along without you very well
Of course, I do
Except perhaps in Spring
But I should never think of Spring
For that would surely break my heart in two
There’s an additional reason for posting that particular clip: very bad news about Mike Durham, the great guy who organises the Whitley Bay event …
Valerie Eliot died on 9th November. She was T S Eliot’s second wife. His first marriage to the unhappy and disturbed Vivienne Haigh-Wood was wretched.
“To her, the marriage brought no happiness. To me, it brought the state of mind out of which came The Waste Land.”
"My nerves are bad tonight. Yes, bad. Stay with me. "Speak to me. Why do you never speak. Speak. "What are you thinking of? What thinking? What? "I never know what you are thinking. Think." I think we are in rats' alley Where the dead men lost their bones. "What is that noise?" The wind under the door. "What is that noise now? What is the wind doing?" Nothing again nothing. "Do "You know nothing? Do you see nothing? Do you remember "Nothing?"
He married Valerie, his secretary, when he was sixty-eight and she was thirty. He dedicated his only tender love poem to her.
A Dedication to My Wife
To whom I owe the leaping delight That quickens my senses in our wakingtime And the rhythm that governs the repose of our sleepingtime, The breathing in unison Of lovers whose bodies smell of each other Who think the same thoughts without need of speech And babble the same speech without need of meaning. No peevish winter wind shall chill No sullen tropic sun shall wither The roses in the rose-garden which is ours and ours only But this dedication is for others to read: These are private words addressed to you in public.
I googled for a copy to paste and found it on a site of readings for weddings. The arcane modernist wrote a poem that anyone who has been in love can understand.
(A piece about the disappearing breed of literary widows here.)
Baker made several memorable instrumental and vocal recordings of this number in the fifties. But this 1959 live version filmed in Italy, is fascinating for a number of reasons (one of which involves the pianist…). Baker, a junkie, was an asshole of a human being, but a wonderful crooner and a pretty good trumpet player. Play (or sing) this to your loved one today:
In a bit, in the comments, I’ll tell you about the pianist. Unless someone beats me to it.
Thanks to Alyn Shipton (see comments at “Jazz fans, once again treated with contempt by the BBC“, below) for reminding me of this:
Watch Billie’s face as Pres (who wasn’t scheduled to appear and is clearly in bad shape) takes his faltering but lovely solo, following on from Ben Webster. Billie and Pres had once been really, really close, but not lovers; more like brother and sister, by all accounts. Then they’d drifted apart. This was their first encounter in many years. Was Billie thinking about the love affair that never was? And did Pres turn up, uninvited, because he knew Billie would be there?
This was filmed on 8 December 1957. Pres died on 15 March 1959. Billie died on 17 July 1959.